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Tag: cinema

I’ve written about the Tokina 11-16mm many, many times. In fact, I was temporarily banned from REDUser years ago for backhandedly plugging the Duclos 11-16mm conversion – breaking the rules of the forum. I’ve since cleaned up my act (sort of). I speak often of the Duclos 11-16mm, and when I do, I always give credit to Tokina for making such a great product. I wanted to take a post here and acknowledge the original lens, it’s heritage, influence, and evolution over the past (nearly) decade. Continue reading Tokina’s Gateway to Cinema: The 11-16mm

Tokina entered the cinema lens market several years ago with a few zooms and a macro prime which were all ported over from their still photography line of lenses. Originally, their 11-16mm T3 (a lens that we lovingly began the trend with) lacked a PL mount option which it finally gained just recently, while the other lenses featured the PL mount as a factory option. The 11-16mm was accompanied by two additional zoom lenses – a 16-28mm T3 and a 50-135mm T3 and a lonely 100mm Macro prime lens. Last week, Tokina announced that it will begin manufacturing three brand new prime lenses – a 35mm, 50mm, and 85mm, all T1.5, and refreshing the 16-28mm with a version II. Continue reading Tokina Cinema Introduces New Primes, Refreshed Zoom, and More!

Leica is known world-wide for their classic line of M lenses that have been a favorite of photographers for decades. With the worlds of still photography and motion picture becoming less and less defined as time goes on, it’s not uncommon to see a still photo lens being used for motion picture work. Leica took note of this with their extensive catalog of high quality M mount primes and decided to do a bit of blending themselves. Continue reading Leica Refocuses With M 0.8 Primes

Veydra has done very well with their Micro 4/3 mount Mini Primes designed for cameras like the Panasonic GH4 or the Blackmagic Pocket Camera. Until now, the Mini Primes were available only in Micro 4/3 mount. But today they released a short video showcasing the new mount options and the wide range of cameras that these primes will work with. Continue reading Veydra Debuts New Mount Options For Mini Primes

Back in 2009 we began shipping our Tokina 11-16mm cine conversion. We honestly had no idea it would be so successful. About a week after we initially started shipping our 11-16mm lens, customers began asking what our next project was. You see… We don’t just convert any lens. We look for something different – something unique. At the time we released our 11-16mm lens, there really wasn’t anything else in the same category. There were a few high-end options that were 6x – 8x the price of our lens or some vintage lenses that simply didn’t perform very well when compared to the 11-16mm. These days you can find the 11-16mm with cinema features from any number of companies including lens shops in Germany, China, and even from Tokina themselves. I can confidently say that our cinema conversion is still the best option out there by a large margin. So – the next project… Continue reading Leica 70-180mm Cinema Conversion from Duclos Lenses

In a recent newsletter, P+S Technik Managaing Director, Alfred Piffl, felt it prudent to bestow a bit of knowledge upon cinematographers keen on having some vintage lenses re-housed – something that I feel is necessary coming from one of the largest lens re-housing operations. There’s no doubt about it; vintage lenses have made a huge resurgence in the motion picture world. It’s not a fad that I have a solid explanation for. Perhaps it’s the fault of modern cameras being so crisp and sharp, a rather clinical look in a world of romance and beauty. Or maybe it’s just the hipster trend to use an old lens that would otherwise be off limits. Regardless of the reason, vintage lenses are being refurbished and re-housed in large numbers. But users expectations must be brought back down to earth and kept reasonable. Continue reading P+S Technik Conveys Challenges of Rehousing Vintage Lenses

Canon announced their CN-E Primes back in 2011 with only a 24, 50, and 85mm. They quickly added the 14, 35, and 135mm to the line-up providing cinematographers an set of six lenses from 14 through 135mm. The lenses are plenty sharp and built rather well. Duclos Lenses saw the potential of these primes and took action. In this post, we’re going to dive into what makes the Canon CN-E Primes such great lenses and why Duclos Lenses chose these particular lenses for modification to PL mount. Continue reading Canon CN-E Primes – An In-Depth Look

Canon is really making waves in the professional motion picture world. They have the manufacturing breadth and experience to produce some really high quality products. Professionals have been a bit slow to adopt the new system of cinema cameras and lenses – but it looks like things are picking up. …way up.

In a recent press release, Canon discusses their products being used on an upcoming IMAX film. Check out the press release below.

If you haven’t already, you should grab a copy of P3 Update. After you do that, check out a neat article by James Thompson, that explores what choosing a lens means these days and why shooters make the decisions they do. With feedback from industry professionals such as Richard Crudo, ASC, Steven Poster, ASC, and Jon Nelson, it’s a nice article that I feel taps into the direction that the motion picture lens industry is going in that you need to find what works best for you and the only way to do that is experience.

Take anyone of these lenses from any manufacturer, off any shelf in any rental house in the world, and I guarantee it will deliver an amazing image,” says Cinematographer Richard Crudo, ASC (“Justified”). “But, what does that tell us? Is it the right feel? Is it the right texture? Is it the right thing for what you are trying to do? And, that you only know when you have a script in hand and a director to talk about it with.” That chat with a director will also cover the subject of resolution. “We’re already at 4K resolution, which is more than the human eye can handle,” explains Crudo. “The only thing that really changes is apparent contrast at that point. [Manufacturers] should be worrying more and putting all their R&D into bit depth and color space [and] black level. That is where we really need to work, capturing highlights [and] the high-end of the spectrum.

Duclos Lenses has developed a conversion process for the Canon Cinema Eos CN-E Primes that provides a high quality, stainless steel PL mount that allows the primes including the 14mm, 24mm, 35mm, 50mm, 85mm, and 135mm to be used with any PL mount camera. Continue reading Canon CN-E PL Primes From Duclos Lenses

Not to be outdone by other recent announcements from Canon and Fujinon, Angenieux announced today a new line of Optimo Style lenses that will be added to their extensive, respectable line of professional zoom lenses. The press release details the new lenses as a 16-40mm and a 30-76mm. The two new lenses with be offered with or without their new Angenieux Servo Unit (ASU). No word on the speed of the lenses just yet but it’ll likely be between T2.6 and T2.8. If you’re familiar with Angenieux’s current line of Optimo (15-40mm and 28-76mm) and Optimo DP (16-42mm and 30-80mm) lenses, it may sound like the new Optimo Style line is simply another variation on their existing lenses. The Optimo DP 16-42mm and 30-80mm will be discontinued as individual lenses and available in pairs tuned from the factory as a 3D package. The new Optimo Style lenses will also feature interchangeable mounts in Arri PL, Canon EF, and Panavision flavors. Both new Optimo Style lenses will weigh in at a very nice 4.2 lbs. – almost half the weight of other “lightweight” zooms available. Angenieux goes into more detail noting that these lenses are tailored for high standards of UHD 4K production and will be available Summer 2014.

Other bits included in the press release simply cover existing lenses, shipping soon the new 25-250mm Optimo and their now shipping 56-120mm S2 Anamorphic Zoom. One other detail new to the press release is the Angenieux Servo Unit (ASU) which Angenieux had mentioned about a year ago but has just now officially announced it. the ASU will work with all of the lightweight Optimo lenses. This now makes three manufacturers who have jumped aboard the CinENG train. (I just made that up: Cine + ENG = CinENG get it?) The (ASU) provides control of zoom, focus and iris and is compatible with broadcast remote handles, cinema remote controls and wireless remotes. It generates lens metadata based on the Cooke/i technology protocol. The ASU and lenses are matched and calibrated at the factory.

Read the full press release below and check back often for live updates from NAB where we’ll find out what the real details are behind the new Optimo Style line of lenses. New optics? Rebranding? Either way, Angenieux has a reputation all over the world for making top-notch cinema zooms.

Press Release from Angenieux

Thales Angénieux Debuts New Optimo Style Lens Series at NAB

Charting New Course for 4K and Beyond Live TV and Mid-Budget Cinema Productions

Las Vegas, NV (April 4, 2014) – Inspired by the escalating demands for cinematic quality content to meet the rise of multimedia viewing and the trend of Ultra definition television, Thales Angénieux is introducing their new Optimo Style Series of zoom lenses. The family features three zooms – two hand-held and one full size — and provides focal length from 16mm-250mm with ability to lengthen the range with a 2x extender. The two lightweight zooms are also available with the optional Angénieux lens servo motorization system.

“A wider spectrum of production content is migrating to a cinematic look with 4K quality and that trend requires equipment which is adaptable to a large variety of cameras, configurations and budgets,” said Pierre Andurand, President and CEO, Thales Angénieux. “The all-new Optimo Style Series addresses those needs and provides a benchmark for quality and price/performance. It takes into consideration the industry’s most stringent requirements for ergonomics and versatility for live TV recording. Angénieux is going to exceptional lengths to ensure the first deliveries of this new lens line will be made in Summer 2014.”

The 16-40mm and 30-76mm zoom lenses are extremely light weight at only 4.2 pounds each, allowing perfect camera balance for on the shoulder or hand- held configurations. The 25-250mm lens, weighing 16 pounds, is an all-purpose zoom featuring the

desirable 25mm wide angle position and a 10x zoom range to meet a variety of production needs. This lens was previously introduced at IBC 2013 branded Optimo DP.

The Optimo Style series is fully compatible with the latest generation of digital cameras and provides the unique cinematic look of the Optimo line at an affordable price. The lenses additionally feature an easily interchangeable mount (PL, Canon EF, Panavision) for full compatibility with a wide variety of cameras.

The Angénieux Servo Unit (ASU) provides control of zoom, focus and iris and is compatible with broadcast remote handles, cinema remote controls and wireless remotes such as Preston or others upon request. It generates lens metadata based on the Cooke/i technology protocol. To help ensure flawless performance, the ASU and lenses are matched and calibrated at the factory. The ASU will additionally be available as an option for all the Optimo Lightweight Cine Zooms including the Optimo Style 16- 40 and 30-76 and the Optimo 15-40, 28-76mm and 45-120mm lenses.

Here at Duclos Lenses we’ve devised this somewhat satirical guide for buying new cinema lens. Take a gander and see what lens you come up with. Post your results in the comments and five winners will be chosen at random at the end of the week to receive some cool lens geek swag including shirts, hats, cleaning kits, etc.

This guide is all in good fun, but if you really do want some professional advice, contact Duclos Lenses.